"Oriental Drama" to the world

"Poetic language, flowing stage, legendary dream life."

On the evening of June 20, the 70th anniversary of the establishment of the Beijing People's Art Theater's 70th anniversary performance "Ruan Lingyu" ushered in this round of premiere. The story ended and the lights were on. The audience tried to pay tribute to the actors with long applause, and also paid tribute to one of the directors and the dean of the Beijing People's Art Theater who suddenly died.

One day in early June, people came and went on the third floor of the Capital Theater. Sitting in the quiet Renyi Library, he heard the warm discussion of the office next door -everyone artists are doing their best to celebrate the commemorative activities of the hospital. In the preparation gaps, Ren Ming told me about his practice of "Oriental Drama", memories of overseas performances, and thinking about communicating with Chinese and foreign exchanges.

1

Explore the aesthetic spirit of "Oriental Drama"

As a Western imported product, the drama has a worldwide discussion in China as early as the early 20th century. In the 1930s, drama theorist Zhang Geng proposed "the nationalization of drama" and became a general pursuit of Chinese drama. In the "Cai Wenji" directed by the founder of Beijing Renyi, the lines and clothing dances are drawn from traditional Chinese operas. Ren Ming's generation of drama people from inheritance to development and innovation. "What we consider is to further and broaden some on the basis of nationalization. Through continuous stage practice, explore the aesthetic spirit of 'Oriental Drama" in the field of drama art. ","

This is the topic of thinking, research and practice for more than 10 years. In the process of directed a series of historical dramas, he increasingly adopted an oriental perspective- "Not only is it limited to the traditional aesthetics of Chinese opera, but also the empty mysteries of Japanese drama, the beautiful and beautiful and exaggerated gorgeous of Ukiyo -e -painting The vivid and mysterious Indian poetry drama ... "Under repeated polishing and carving, it belongs to the aesthetic model and expression of oriental culture, and gradually integrates into all corners of the stage.

"Such an expression pioneering our horizons and expanding our creative thinking." On the one hand, Ren Ming inherited the poetic style of Beijing Renyi History Drama, allowing the audience to feel the rich Chinese cultural heritage, and at the same time adopted an updated and bolder stage scheduling and the bolder stage scheduling and Composition, actively pursue the modern sense of audiovisual language, and integrate the spirit of Oriental aesthetics with the form of Western stage.

"Sima Qian" 2019 Russian performance poster. Picture of Beijing People's Art Theater

The artistic style of "Sima Qian" reflects such an exploration: the stage has not only has a magnificent Han Dynasty, but also jumps out of traditional historical dramas. As the background, the dark -colored portrait rotates with the development of the plot. At the end of it, all flipped into a huge mirror with metal texture, which means "history as a mirror". The diagonal curtain in the middle of the stage has appeared in a consciousness, and the variety of lights create a combination of reality, making Sima Qian and Qu Yuan's "air -to -air dialogue" more artistic.

In Ren Ming's view, the use of the entire Oriental cultural accumulation and traditional nourishment of Chinese contemporary drama, which has spawned the "Oriental Drama" that can talk to Western theater culture, which is the exploration of practitioners. "This is the extensive absorption of traditional Oriental culture essence. , Integrate oriental aesthetics and philosophy, and at the same time, the aesthetic style of harmonious spiritual spirit expressed in the stage. This is a peak of artistic art. "

2

Stimulate "resonance" with "convergence"

In 2014, "Our Jing Jing" performed in St. Petersburg, Russia, which is also the overseas premiere of the show. Ren Ming recalled the performance, "I sat on the second floor of the theater until my heart was still drumming before the opening." But after the curtain was opened, the audience's enthusiasm was unexpected. The costumes performed in Chinese, and there were more than 1,000 Russian audience wearing the same interpretation headset. They laughed with the plot, applauded, stomped, and cheered at the scene when the curtain was scattered. Jing Jing 'can also be the world. "

"Our Jing Jing" 2014 Russian performance poster. Picture of Beijing People's Art Theater

Compared with many art categories, the external communication of the drama has more direct emotional communication and deeper ideological expression. At the same time, creators must face the "cultural discounts" in the process of communication. For people often say "the more the nation, the more the world is", Ren Ming has his own view: the common foundation of "nation" and "world" is that the work needs to have extensive universality and profound human nature at the same time Essence He does not deny that when recommending a repertoire to overseas theaters, the other party often prefers the historical drama that can present the beauty of traditional oriental. "What we need to do is to bring a new aesthetic experience to foreign audiences while avoiding the strange display of Chinese history and culture . With the "remembrance 'stimulation' resonance", you can evolve the drama into the hearts of foreign audiences. "

When the "Our Jing Jing" was created, Ren Ming already had the consciousness of "letting audiences with different cultural backgrounds understand this drama". Mo Yan's script completely overturned the heroes who "the wind, the wind and the water are cold and the water". On this basis, Ren Ming will shape Jing Jing as a person who has a heavy responsibility and confused with his own value. Those who go to death and become English -name. This makes "even if foreign audiences do not understand Jing Jing, they can find the corresponding artistic image in their own culture."

In May 2019, "Our Jing Jing" France performed. Picture of Beijing People's Art Theater

A Finnish drama researcher made a special trip to St. Petersburg to watch "Our Jing Jing". After the drama ended the drama, he excitedly stopped Beijing's artist staff because he saw "Hamlet's dilemma" in the play. The French "Provence Daily" commented on the show's performance in Marseille: "This is a classic work that can surpass the geographical distance and cultural differences. It brings the core character of the story back to the position of an ordinary person. The same, internal full of conflict, contradictions, and emotions that are full of humanity. "3

Let Chinese drama "Yangfan Voyager"

Beijing Renyi has experienced the development of the Chinese drama career, and is also an active participant in the Chinese drama "going global". In recent years, not only classic masterpieces such as "Tea House" and "Thunderstorm" have appeared on the overseas stage, but also works such as "Our Jing Jing" and "Sima Qian", which have concentrated on Oriental aesthetic interest. In addition to artistic creation, how to help the drama "sailing and voyage" that helps the oriental style and national taste is a question of constantly thinking about human artists.

The drama is first of all the art of "words", which is a sentence that Ren Mingchang said. During overseas performances, the translation of lines to a large extent affects the performance effect, but too long foreign -language subtitles are easy to disperse the attention of the audience and affect the experience of watching the drama. Considering this, when "Our Jing Jing" appeared in Russia for the first time, Beijing Renyi invited Mo Yan's novels and engaged in the study of Chinese classical opera Ma Yide as the same interpretation.

Ren Ming encouraged young Sinologists to boldly translate, and passed on the linked meanings behind the dual literals of the city's slang in the script as much as possible to the audience. "The effect is better than we expected. The feedback from the audience -whether it is quiet, laughing, shrugging, frowning -almost synchronize with the actors' lines." After that, Beijing Renyi used this experience to other other tour to visit overseas tour to visit overseas to tour other tour. In the play, they have achieved good results.

In 2005, "Tea House" visited the United States and held large -scale exhibitions at the Kennedy Art Center. Since then, "with the show, played with the show" has become a reserved program for Beijing art. In Belarus, the "Our Jing Jing" special exhibition attracted a large number of enthusiastic audiences with a strong historical atmosphere of the Warring States Period. At the Ninth Olympic Drama Festival "Sima Qian" held in Russia, only 50 venues with more than 100 seats were squeezed out of the venue ... The distance between works also open another window to promote Chinese drama and Chinese culture.

"I Love Peach Blossoms" 2018 Kazakhstan Performance Poster. Picture of Beijing People's Art Theater

In recent years, relying on the platform of "Capital Theater Boutique Drama Invitation Exhibition", Beijing Renyi and French Marseille Lakye Theater, Russia's St. Petersburg Alexandam Theater, Kazan Carchaolov Model Grand Theater and other world -renowned homes The delegation established a play mechanism for interviews. Practitioners from different countries have stirred up the spark of thoughts in the conversation, and promoted the repertoires such as "confidant", "I love peach blossoms", "our Jing Jing", "Li Bai" and "Sima Qian" to perform in Russia, Romania, and France. Thanks to the continuous expanding foreign exchange channels, Serbia, Hungary and other national drama groups have sent cooperation invitations to Beijing Renyi.

"Beijing Renyi wrote a chapter in the history of Chinese drama, but it is definitely not a 'antique shop" that adheres to the rules. At the time of the anniversary, Ren Mingzhen left a message. After the interview, he immediately returned to the tense courtyard preparation to prepare for the theater service of his life, the festival service for the fans ...

Ren Ming has directed more than 90 works, "I Love Peach Blossom", "Confidant", "Our Jing Jing", "Sima Qian" and other series of drama works that explore the aesthetic spirit of "Oriental Drama" to the world and become the art exploration of Chinese drama in Beijing Excellent case of external communication.

Saying goodbye to caught off guard, the "biggest hobby is the rowing" director failed to realize his desire to make 100 works. But the artist will not really leave the stage, because "the drama is there, he can speak."

(Author: Zhuang Xueya Editor: Wang Jiake, Zhuang Xueya, Wang Di)

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